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5 Important Things a Sound Engineer Must Keep in Mind

Being a sound engineer is difficult sometimes. You have a lot of things to consider when you are planning a live event and you will be the one that takes all the blame if the event is not a success. Sound mixing can be an enjoyable experience, but only if you are prepared to take care of all of the tasks that are required of you during a live event.

There are many skills that a sound engineer must have in their toolbox and you need to have all of them if you want to be a successful sound engineer during a live event. There are some important things that you will need to know how to do if you want to be a big success when you are the sound engineer at a live event.

If you are ready to learn the things a sound engineer must know and keep in mind, you should read on!

Important Things a Sound Engineer Must Keep in Mind

Know the Plan

The plan of a live event is an important part of the things that you need to know to make sure that you are able to mix the sound perfectly for the entire event. You have to know which kinds of sound will be going on during which parts of the event to be sure that you are ready to mix the sound correctly.

If there are going to be talking portions of the event as well as musical portions, you need to know this when you start planning how to mix sound. This is just as important as controlling the lights for the event. You have to know what the plan is to be able to generate the best sound mixing possible after the fact.

Know the Acoustics

Acoustics can impact your jobs as a sound engineer greatly. You will need to be aware of the acoustics of the venue in question so that you can make sure that your sound mixing is correct. You can make broad assumptions about the kind of space that you are mixing sound in, but without sound checks and knowledge about the acoustics of the venue, you will have a hard time making sure that the sound is great.

Acoustics can make a huge difference in the overall sound mixing that is needed for each location that you need to be the sound engineer at. You will need to know this information to do the best job possible mixing sound in these locations.

Work With the Event Team

When working on live events, you really must work with the event team to make sure that you know what the highs and lows of the live event need to be. You will need to understand the theatrics of the proposed events on stage so that you can make sure that sound mixes correctly for these expectations.

Working with the event team closely will allow you to be sure that all the right moments are emphasized throughout the event. The crescendos of a live event are often the most important portions of the action to highlight, but you need to be sure that you are aware of when these moments are supposed to take place.

Know Your Equipment

You might be aware of how all of the necessary equipment works, but the combination of unique technology that you are working with for a live show can cause issues you did not foresee. If you have been working with the same show for a long time, this might not be a big issue, but locations can still add challenges to your overall sound mixing plans.

Make sure that you check all of the acoustics related to each of your amps as well as the arrangement of singers and other performers on stage. You want to be sure that you know how to balance the sounds that are going on during the performance with reliability to be able to mix the sound correctly when the event is live.

 

Use Quality Mics

You need to make sure that you have quality mics on every one that is onstage. This might include the instruments as well as the singers. You should know how each mic style works and how to best mix and manage the sound from each of these mic types. Cheap mics will never sound as good as quality mics and you will find that you will have the best luck with a good quality mic.

While you may not be in charge of the decisions that are made with regards to the mics that are used for the production in question, you should make it clear that low-quality mics will affect the overall quality of your mix. You need to be sure that you have access to the technology that you need to ensure a good mix at the end of the event. Cheating yourself on good mics and equipment can lead to frustrations over the mix quality later.

Sound Engineers Need to Know a Vast Array of Information

There are many things that a sound engineer needs to know. From the complexities of mixing sound during and after a live event, to the process of sound checking and balancing the sound in unique event locations, this is a complicated job that requires a lot of skill.

Always make sure that you are working with the right equipment that will generate the best sound and be sure that you are aware of the acoustics of your location. Know the plan for the event and be sure that you are in the loop about any changes that have been made to the scheduling of the events on stage.

Sound engineers have a lot of skills and tricks of the trade but the most essential tools come from planning ahead and being connected to the plans that are governing the event you are mixing for.

My Take on Line-By-Line Mixing for Theatre

Theatre sound

Since I had started as a live sound engineer for theatre, I didn’t really pay attention to other mixing styles. Line-by-line mixing made sense to me and was my natural technique. It wasn’t until I started working with musical artists and bands that I realized I needed to change my approach. I was not a live sound music mixer, I am a theatrical mixer, and there was a learning curve for me. Line-by-line at the most minimal means you are opening/closing mics for each person coming on and going offstage. Mute groups, DCA/VCA, and automated scenes REALLY help when you have a ton of radio mics. Mixing for an orchestra plus 15-25+ wireless mics were the norm for me while in college (& working professionally later).

We were taught to read a script a minimum of three times. Script analysis was integral for sound design, as it forces academic research. The first time you read a script is the most important as you are forming first impressions and understanding of the story. The second read-through was sometimes done with other designers, actors, director, etc. but I felt they often left out the tech crew. The second was to solidify the understanding of the themes, subjects, and tonality. The third and subsequent read-throughs of the script are for writing SFX cues, entrances, and exits (if not in the script OR noting they will go off and immediately return), orchestral solos, and grouping of singers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In rehearsals and the tech week process, there was always a lot of “hurry up and wait” while we all made adjustments. This was a valuable time for note-taking; if my script was thorough and accurate, I would be able to focus more on the mix rather than who the hell is onstage right now. An Audio Engineer for the theatre is a lot of things: FOH, foldback, A2, RF Tech, systems engineer, sound effects operator, comms, and so many other little things. Keeping organized was the most important because we have a lot of shit to handle.

Once you know who is doing what on stage, which solos or special parts the orchestra has (which is why attending the sitzprobe is integral for success, ( In opera and musical theatre, a sitzprobe (from the German for seated rehearsal) is a rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups, it is often the first rehearsal where the orchestra and singers rehearse together.) You can build your show file and program the console. The Stage Manager will be able to call your SFX cues (and sometimes even run them) so I make notes and place trust in my SM. I learned how to mix on an Allen & Heath ML4000 (?? TBH it was over 13 years ago), so my brain is focused on having as much as possible in front of me. Layers are where I hide things that don’t need to be actively mixed, as I do not like switching between layers quickly.

My Console Setup

Once everything is labeled and organized, I start with assigning VCAs/DCAs (Showing my experience/age). Wind, strings, rhythm, etc. will each get a DCA if it’s a larger orchestra. Orchestra overall gets a DCA. Ensemble (separated men/women), and quartet/trios should also get their own DCA. Some of these may be assigned to a group instead of processing, which will depend on the situation. Mute groups are your best friend, it takes some time to program them on older consoles, but it is worth the effort. Depending on your digital console, recording scenes or screenshots while in rehearsals would be the best option. You can always make small edits later if your timing isn’t quite perfect. From there, it’s all about the notes from rehearsal. Line-by-line was the most logical method for theatre & I still think this way during productions.

 

Production Communication

Comms, a necessary evil

Comms are, without a doubt, integral to a production’s success. Whether it’s over a radio or full-duplex communications, comms are a necessary beast. As a sound engineer, A1, A2, production manager, producer, etc. I have worked extensively with various versions of communications technology. I will focus on tech that is not brand new, mostly because that is far more common than shiny new systems. New comms systems are as rare and magical as unicorns.

Comms systems allow a production crew to speak to each other instantly. Many of my students question, especially after seeing how the equipment LOOKS, why don’t we just use phones and text? Aside from service issues inside buildings, battery life, distractions of other apps while working, etc., the main reason for me is that using a mobile just isn’t practical or professional. How many times have you had issues with a text going through? Depending on your network, this can be a frequent and annoying issue. Portable communication systems allow me to set up a reliable network of people within minutes. Hard lines ensure fewer problems than wireless (although I’ve had my fair share of bad cables and mini fires). TEST EVERY COMPONENT before the show. Seriously. Do it. These devices are MADE to take a beating, but they are not immune to damage. They are hardy little boxes, especially compared to my glass-covered iPhone.

 

Handbook of Intercom Systems Engineering

This PDF guide, The Handbook of Intercom Systems Engineering, first edition, Copyright© 2007 by Telex Communications, Inc is your magic textbook to all things comms. I frequently refer this to my students as a resource, and although it was published some time ago, I still find it to be completely relevant in the scope of existing installations. This document is my BEST advice to learning comms, troubleshooting, and designing systems based on your needs. Clear-Com and RTS have been around since the 1970s, and I believe some of that original equipment is probably still in circulation. While petitioning for new comms systems, most of the responses I have personally received involve “if it ain’t broke why fix it?” or some variation of that phrase. Most times, I am cobbling together a system from half-functioning components, which is frustrating and not the most helpful for such an important system. Comms aren’t sexy though, so many people aren’t eager to replace them.

Party Lines

Party lines sound way more fun than they actually are in real life. A party-line system is probably what most of you have encountered already. This system allows a group of people to communicate and have conversations. There is no limit to who is allowed to talk at a specific time, aside from etiquette, and there is generally no privacy.  A typical setup will include a power supply, XLR cables, belt pack user station, and a headset. RTS comms are a two-wire system, meaning that you can have the same path for talk and listen, and two separate party lines. These are more commonly found in TV production and sporting events. Most user stations will be connected in parallel, although having a splitter can help when you need to go separate ways.

Equipment

There are so many options for comms equipment, and this will vary based on the manufacturer and your production needs.

A Power Supply is necessary for most comms equipment unless it comes with its own PS. For RTS, the PS20 is a standard power option.

Belt Pack User Stations are individual, portable comms stations. These require power from a power supply.

A Main Station is rack-mounted user station, which will also require power from a PS.

Master stations are rack-mounted stations, combined with a power supply.

A Biscuit Box is a portable speaker station, which will require power from a PS.

Headset types: Single Muff, Double Muff, Phone Handset, Biscuit box.

 

Source Assignment Panel (SAP) is integral for larger productions. This allows up to 6 sources (Party Lines) and 12 selectable outputs (to people). Each user station can have two PLs. An SAP will give your production more selective communications so that each department isn’t talking over each other. If you have a video team, they need their own PL for the Director, Producers, TD, Cameras, Floor Manager, etc. They don’t need to hear about any issues from monitor land.

Who needs to be on a headset?

Paperwork and organization is a big part of the job of an A2. Anyone who needs to execute a cue at a specific moment needs to be on a headset. Who needs which type of equipment? Where are they located? Who do they need to speak with while on a headset? TV Broadcast gigs will have a lot more people on a headset than a concert or theatre event. For larger portable events, I will employ additional equipment, including a Source Assignment Panel. An input list for comms will help keep track of everyone. I will label the BP for each person; keeping organized is key! Using their names/titles for labeling is a good practice. If you don’t know, you can ask them. Communication is key. (Obviously.)

 

 

 

Keeping Up

When You’ve Got Too Much Going On

 

I don’t know about you, but I feel like there isn’t much of a down season anymore. There’s a festival season, corporate meeting season, holiday season, and more — all blending together to create a full year. As a result, it seems like my to-do list for work and life only gets longer. I’ve been striving to find a better balance during the busy times to make sure I get downtime when work gets a little quieter.  Here are a few things I do during my busy times to make sure I give myself time to relax, instead of always playing catch up.

Make a Priority List.

I do this at work and home. In our industry, things pop up all the time, so my list is a bit flexible, but the goal each day is to check off more items then I add. This doesn’t always work, but I make sure to check off at least one thing every day. It also helps to make sure you meet specific deadlines too.  The list also helps me address similar things at one time in hopes to get more things done.

I practice this at home, as well. When I get home after a shift, I try to spend at least one-hour taking care of things on my list for my personal life. This can be cleaning for an hour, paying bills, etc. I try to do this each night, so these things don’t pile up. If I have a short day at work, I will try to spend more time working on these items so the days I’m exhausted its ok to skip. This helps to prevent my to-do items from piling up.

Health and Happiness

Within my priority list, I always keep items that will contribute to my health goals and happiness.  Often I will list a nap on my priority list. Funny I know, but I enjoy naps so keeping it on my list reminds me it’s ok to prioritize it. A priority list doesn’t have to include tasks you don’t like. It is a list of things you want and need to accomplish. Each person looks at these items differently.  I frequently list going for motorcycle rides or going to happy hour with friends to make sure I’m spending time on things that make me happy, just as much as tasks that need to be completed.

Say No

It’s ok to say no. When setting your priorities, be it work or home, sometimes just one more thing will not fit, so say no. At work, it may be more of a discussion with a supervisor of what they would like to see done first.  Talk about what they would like to see higher on your priority list and adjust from there. At home as long as you’ve got clean underwear, it’s ok to push off laundry to the next day. Again, here look at your list and prioritize what is more important to you, so you feel like you’ve accomplished something as not to get overwhelmed later.

Practicing setting a priority list can help you feel and stay balanced. Crossing items off each list every day will help you accomplish a lot, while also balancing work, home, health, and happiness. Remember not everything on your list needs to be a chore. Anything can go on your priority list it’s intended to help you keep up the things you need and want in mind while a lot is going on.

 

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